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Oxford musicnow

Spring 2009

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Contents ❙ Page 2 Michael Finnissy ❙ Page 3 Martin Butler and Gabriel Jackson ❙ Page 4 Bob Chilcott ❙ Page 5 Gabriel Jackson and John Rutter ❙ Page 6 Gerald Barry ❙ Page 7 Howard Skempton and Anthony Powers ❙ Page 8 Michael Berkeley and Vaughan Williams ❙ Page 9 William Walton ❙ Page 10 William Mathias ❙ Page 11 Anniversary celebrations ❙ Page 12 Hilary Tann ❙ Page 13 In Memoriam ❙ Page 14 New CDs ❙ Page 15 New Hire & Sales titles ❙ Page 16 Contact details

Howard Skempton wins at the British Composer Awards

The Moon is Flashing is a large-scale song cycle for tenor and orchestra. It was commissioned by the BBC, and first performed by BBC National Orchestra of Wales and James Gilchrist conducted by Grant Llewellyn, at the Vale of Glamorgan Festival 2007.

In their citation, the judges said: ‘The winning work abounds in colour, contrast, and humour, with an underlying sense of seriousness and depth, and an acute sensitivity to setting the vivid imagery of the texts. This is music of unusual imagination that springs fresh from the page.’

Howard Skempton writes: ‘The work lasts about twenty minutes and consists of settings of three poems of quite different character. The first is the title poem, a short valentine of my own.The second is A Day in 3 Wipes by the

English composer, painter, and writer Chris Newman, who lives in Berlin. This engaging text is a modern lyrical ballad of great honesty and clarity. The third song is Snake, one of the better-known poems by D H Lawrence. The narrative is simple enough but the writer bides his time, dwelling on his feelings in language both vivid and urgent.’

This is the second time that Howard has been honoured at the British Composer Awards, having won in the Chamber Music category in 2005 for his string quartet, Tendrils. The same work was winner of the 2005 Royal Philharmonic Society Award for Chamber-Scale Composition.

Howard joins two other Oxford composers on the illustrious list of BCA winners: Gabriel Jackson’s O Doctor Optime (for SSATB choir) won in the Liturgical category in 2003, and in 2005 Michael Finnissy won two awards; the ‘Making Music’ prize for Molly-House (for unspecified instrumental ensemble), and the Instrumental Solo and Duo prize for Verdi Transcriptions Book 4.

Score and parts for The Moon is Flashing are available from the OUP Hire Library (contact details on page 16).

Orchestration: Tenor solo, 2 fl, 2 ob, 2 cl, 2 bn, 4 hn, 2 tpt, 3 tbn, tba, timp, 2 perc, str

Other Awards for Oxford Composers* The recent CD Spotless Rose: Hymns to the Virgin Mary, recorded by the fine Phoenix Bach Chorale and including Cecilia McDowall’s Three Latin Motets, won at the 51st annual Grammy Awards this year. The disc was nominated in four categories and won the Best Small Ensemble Performance Award.

* In May 2007 Richard Causton was awarded a coveted Royal Philharmonic Society Award in the category for Chamber-Scale Composition for his work, Phoenix. The judges praised the composition: ‘Richard Causton’s Phoenix is a piece that consolidates the qualities of this composer’s recent music, its fastidious clarity and economy. But Phoenix also opens up a new expressive world, an emotional directness that Causton vividly conjures from a five-piece ensemble.’

Score and parts for Phoenix are published in the Oxford Contemporary Repertoire series.

Skempton Tendrils and Finnissy Molly-House are published in the Oxford Contemporary Repertoire series, available from Goodmusic Publishing (contact details on page 16).

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Howard Skempton’s The Moon is Flashing was the jury’s choice in the Vocal category of the 2008 British Composer Awards, hosted in London by the British Academy of

Composers and Songwriters.

Howard Skempton

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Michael Finnissy’s evening-length work will receive its world premiere at Wilton’s Music Hall, London on 12 June 2009.

Michael Finnissy: The Transgressive Gospel

Weaving together threads from 400 years of musical responses to the subject of the Passion

of Christ, Finnissy’s raw and contemporary score is both brutally simple and richly detailed. Renowned jazz-singer Kate

Westbrook will join Richard Jackson and Finnissy’s favourite ensemble Ixion for what is sure to be a thrilling and moving evening.

Diana Burrell, Artistic Director of the Spitalfields Festival writes:

‘Choosing which composers to commis-sion for the Spitalfields Festival concerts has for me been one of the most worth-while and enjoyable parts of the job of Artistic Director. The commissions have generally been given to young compos-ers but for this coming June, which is my last festival, I wanted to go to a colleague whose work I have known and admired for a long time—Michael Finnissy. Michael’s joyous, strong, and daring music has been a source of inspiration over the

years. There is an integrity in his work which sits well with my own aesthetic, and above all, the sounds he creates ring around our much-loved venues in a unique and particularly pleasing way!

‘I was over the moon with the work he proposed for us. I had hoped for a substantial thought-provoking work that would make an impact, and Michael’s suggestion of a two hour-long setting of the Passion of Christ—a work he had long wanted to compose—felt exactly right. The Transgressive Gospel will be a fresh and edgy look at one of humankind’s most profound and uplifting dramas, and will provide a contemporary foil to that earlier masterpiece by J S Bach, The St John Passion, which concludes our festival.’

Michael Finnissy at the Time of Music Festival, Finland

As part of his involvement in the festival, Finnissy will give a piano recital and a composition workshop. His music will be featured in a

portrait concert given by the Zagros ensemble, one of the leading chamber music ensembles in Finland, on 11 July. The concert programme will include Scotch Tape and Molly-House, both of which are published in the Oxford Contemporary Repertoire series.

Visit www.musiikinaika.org for full festival details.

Michael Finnissy will be the guest composer at the Time of Music Festival, which will be held in the beautiful town of Viitasaari, Finland, from 7 to 12 July 2009.

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Michael Finnissy

Other Recent Michael Finnissy Features

The Borealis Festival in Bergen, Norway, chose Michael Finnissy as their featured composer for 2009. A number of exciting events took place around

Bergen over five days at the end of March. Performances of many of Finnissy’s works were given by BIT20 Ensemble, Polygon ensemble, pianist Mark Knoop, Michael Finnissy, and organist Nora Mulder, who gave the premiere of Finnissy’s Fourth Organ Symphony. Also included in the festival were seminars on aspects of Finnissy’s music, pre-performance talks, composition masterclasses, and dance events.

In April, the Canadian group Ensemble KORE performed two concerts of Michael Finnissy’s music in Montréal, continuing their dedicated work of forming partnerships between Canadian performers and European composers who work outside of the new music mainstream. The two concerts included performances of Brighton!, The Cambridge Codex, Kulamen Dilan, Silver Morning, and Le Lay de la Fonteinne.

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Martin Butler and Gabriel Jackson: Concertos for Presteigne Festival

Martin Butler writes about his Saxophone Concerto:‘Three things have fed into my thoughts as I compose my Saxophone Concerto: Amy Dickson’s playing—fantastic tone, wonderful style!; John Coltrane playing My Favourite Things in a disconcertingly earthy way, as if he were a snakecharmer; and a tiny, bagpipe-esque soprano saxophone phrase from my earlier piece, Hootenanny.

‘These ingredients have meant that the concerto will use folk-derived materials and performing practices—in much the same vein as other works of mine, such as Hootenanny, Down-Hollow Winds, and American Rounds. I really enjoy the idea that certain strands of one’s work link with one another, and form a continuum within an otherwise diverse output.

‘My Saxophone Concerto will certainly be virtuosic, in the tradition of the concerto as a genre; but it will also

capitalize on Amy’s uniquely lyrical tone and expressive style—and will finish with something of an unexpected firecracker.’

Gabriel Jackson writes about his Piano Concerto:‘I am particularly excited that the first performance of my Piano Concerto will be at Presteigne. It’s a beautiful town and George Vass has created a very special atmosphere at the festival with a very loyal audience, and of course he is so committed to composers he believes in. Huw Watkins will be the soloist which is fantastic—he is a great musician and, being a composer himself, very understanding!

‘The piano is my favourite instrument, and I love all the big bravura Romantic concertos. My piece is on a more modest scale, for a Mozart-sized orchestra in the standard three-movement form. A Neo-Neo-Classical piece perhaps . . .’

Another date for the diary: Richard Causton’s ensemble work for the Birmingham Contemporary Music Group, supported by the group’s Sound Investors, will be premiered at the CBSO Centre in Birmingham on 16 October.

Causton writes of the work:

‘BCMG has very kindly given me four percussionists and two pianists to work with. People sometimes talk about piano music as being black and white, and about orchestral or instrumental music as being the equivalent of colour. I wanted to play with that idea.’

The 27th Presteigne Festival of Music and the Arts will promote more than thirty events over six

days from 27 August to 1 September 2009. Fifteen concerts will be complemented by a range of events including talks, composers in conversation, exhibitions, poetry readings, a film, children’s shows, and guided walks.

Presteigne Festival is well known for its continuing commitment to the performance and promotion of contemporary music and in 2003 was shortlisted for the annual Royal Philharmonic Society Music Awards. For the 2009 festival, five of the UK’s brightest composers have been commissioned to write exciting new works, including a Concerto for Saxophone and String Orchestra from Martin Butler, to be premiered at the Festival’s opening concert by the internationally acclaimed Australian saxophonist, Amy Dickson.

There will also be a Mozartian-sized Piano Concerto from Gabriel Jackson to be performed on 1 September by the Welsh musical polymath Huw Watkins, who is also this year’s festival Composer-in-Residence. The accomplished Presteigne Festival Orchestra, under the direction of the festival’s artistic director George

Vass, will accompany the soloists in performances of the concertos.

The music of two other Oxford composers, William Mathias and Cecilia McDowall, will also be included in the 2009 Presteigne Festival.

Visit www.presteignefestival.com for full details of the festival.

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Bob Chilcott: Salisbury Vespers

The world premiere of Salisbury Vespers—the magnificent new work by Bob Chilcott—

promises to be one of the major musical events of 2009. Commissioned by six musical organizations from Salisbury, the fifty-five minute work for large chorus and orchestra pays homage to this ancient service, combining settings of the traditional Vespers psalms with anonymous early texts and words from the Sarum Primer of 1516.

The work will be premiered at Salisbury Cathedral on 23 May in association with the Salisbury International Arts Festival, and will involve over five hundred singers from local choirs and the Salisbury Symphony Orchestra, conducted by David Halls. Halls is delighted that Chilcott was commissioned to write the work, and looks forward to conducting the first performance in May: ‘Salisbury Vespers is a well-constructed piece which beautifully reflects the texts, yet is written extremely carefully for the singers and players. The concept of a major work for two orchestras and multi choirs, using all the spaces inside Salisbury

Cathedral, would be a daunting task for any composer. However, Chilcott has skilfully composed music which will particularly suit the area it is being performed in, and the moments when all the forces unite will be truly wonderful.’

Chilcott describes the shape and influences of his composition:

‘After the opening antiphon, three psalm settings and a setting of the great Passiontide hymn, Vexilla Regis prodeunt, are interspersed by four motets on Marian texts, reflecting the dedication of Salisbury Cathedral to the Blessed Virgin Mary. The work ends with a setting of the Magnificat based, as in the great setting of 1610 by Claudio Monteverdi, on the plainsong melody Tone 1.

‘The piece was designed in such a way that the choirs could be situated in different parts of this huge building and could therefore use the complete space to surround the audience with sound. The challenge this presented musically dictated the way that several of the sections have been put together, but it was always my intention that this work would function just as well within the set-up of a normal performance space.’

The performance will draw on the varying strengths and experience of the city’s abundant musical groups, ranging in size from the 180-strong Salisbury Community Choir to the sixteen members of the Sarum Voices.

This major new work is a must for all lovers of Chilcott’s music and is sure to become a cornerstone of the modern choral repertory, particularly looking forward to the four-hundredth anniversary of Monteverdi’s Vespers in 2010.

Salisbury Vespers will be published on sale by Oxford University Press on 28 May 2009.

£9.95 • 978-0-19-336395-3 Vocal score • 55 minutes

£2.70 • 978-0-19-336464-6 Children’s choir part • 55 minutes

Orchestral material is available from the OUP Hire Library (contact details on page 16).

Orchestration: 2 fl, 2 ob, 2 cl, 2 bn, 4 hn, 3 tpt, 2 tbn, btbn, tba, timp, 2 perc, org[opt], str

A version for organ and brass ensemble will be available from October.

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Bob Chilcott

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After a remarkably successful 2008, including the premieres of major new choral works

The Spacious Firmament and Requiem, Jackson’s choral commissioning schedule shows no signs of slowing down!

January 2009 saw the premiere of To Music by the BBC Singers, written in honour of Stephen Cleobury’s sixtieth birthday celebrations, which was later broadcast on BBC Radio 3’s The Choir.

May 2009 comprises no fewer than three choral premieres for Jackson: a celebratory anthem for the choir of St John’s College, Cambridge (3 May);

a setting of Justorum Animae for Wells Cathedral (14 May); and a setting of St. John’s Gospel for Merton College, Oxford to mark the inauguration of the college’s Choral Foundation (16 May).

Jackson has also been chosen to write the carol commission for A Festival of Nine Lessons and Carols in 2009. This service, which for many people all over the world marks the beginning of Christmas, will be broadcast live on BBC Radio 4 from King’s College Chapel, Cambridge on Christmas Eve.

Requiem£10.95 • 978-0-19-336487-5 Vocal score • 29 minutes

The Spacious Firmament£12.00 • 978-0-19-336323-6 Vocal score • 11 minutes£10.00 • 978-0-19-336321-2 Set of parts • 11 minutes

Gabriel Jackson Choral Premieres

W e are delighted to announce that John Rutter has written his

new anthem, I am with you always, for the Ely Festival of Church Music. This year’s Festival is part of the ‘Ely 900’ celebrations, marking the nine hundredth anniversary of the founding of the Diocese of Ely.

The theme of the Festival, ‘Jesus Christ the same yesterday, and today, and for ever’ (Hebrews 13:8), has been chosen to represent the past, the present, and

the future mission of the Church. Themusic and liturgy have been selected to provide a thoughtful blend of the old and the new, reflecting the three headings, with special reference in many parts to the Diocese of Ely.

Rutter will conduct over five hundred singers from choirs across the diocese in the premiere of his new anthem at Ely Cathedral on 16 May. The anthem is a fittingly meditative and thoughtful new setting to celebrate this milestone in the Diocese’s history.

The Sacred FlameIncluding repertoire from European Sacred Music

The Cambridge Singers, La Nuova Musica, John Rutter (director)

COLLEGIUM RECORDS COLCD134

978-0-19-343695-4 • £14.95

Rutter Celebrates with Ely

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World Premiere of Barry’s No other people.

Barbara Hannigan, New World Symphony Orchestra, and Thomas Adès perform La Plus Forte in Miami

Gerald Barry’s latest orchestral work was premiered in Dublin by the RTÉ Symphony Orchestra under Alexander Anissimov on 6 February 2009.

No other people. was inspired by the work of the writer Raymond Roussel, as Gerald Barry explains:

‘The title No other people. is taken from Roussel’s New Impressions of Africa, a fifty-nine page poem which took him fifteen years to write, a length of time mainly caused by his tortuous compositional methods.

‘In Roussel, sentences are broken down in maze-like ways, often producing others which relate to the sound of the original. For instance in an earlier book, Impressions of Africa, the words “Napoléon premier empereur” produce nappe ollé ombre miettes hampe air heure (tablecloth olé shadows crumbs pole wind time). Spoken aloud the pleasurable sound common to both is

clear. Out of the first four elements—tablecloth olé shadow crumbs—he concocted a scene of castanet-clicking dancers doing the flamenco on a dinner table, and in this way, slowly built up his labyrinthine structures. The Surrealists claimed Roussel for themselves, but what he really craved was mass success, and was mystified by its absence.

‘New Impressions of Africa has fifty-nine illustrations by the hack artist Henri A. Zo. Because Roussel engaged him through a detective agency, Zo didn’t know the commissioner’s identity or what he was illustrating. All he received was detailed instructions for each drawing. Two of them read: A rambler, arm raised and fingers open, dropping a pebble (still visible) down a well; he seems to

cock an ear as if to listen for the splash. (No other people.)

A cottage in snow the roof of which resembles an open book face down. No people.

‘I was very struck by the everydayness of Zo’s drawings. There is something poignant in his not knowing what he was illustrating. Like the drawings of a blind person. Their banality takes on a mysteriousness by being placed by Roussel in his book, seeming to illustrate bizarre events unknown to Zo. They are impersonal, the people in them unaware that they lead another life in a poem of which they know nothing.

‘Something of this is in the music.’

Gerald Barry’s one-act opera La Plus Forte continues to be an international success.

Having been given its US premiere on 29 November 2008 by Barbara Hannigan and

the New World Symphony Orchestra, with Thomas Adès as conductor, La Plus Forte will receive no fewer than three further international premieres in 2010. The London Symphony Orchestra will present the UK premiere on 6 June 2010, Toronto Symphony Orchestra will give the Canadian premiere on 3 March 2010, and the Netherlands Philharmonic Orchestra will give the Netherlands premiere on 13 February 2010, followed by a further performance on 15 February. The soloist on all occasions will be Barbara Hannigan, one of the foremost interpreters of Barry’s vocal music.

To mark its twentieth Anniversary in 2009, NMC Recordings have commissioned and launched The NMC Songbook. Nearly 100 composers ranging from the country’s most highly regarded figures to the younger generation of emerging talents, have each written a song loosely themed on ‘Britain’ and scored for single voice or duet and a range of accompanying instruments.

Eight OUP composers have contributed songs to the project: Gerald Barry, Michael Berkeley, Martin Butler, Richard Causton, Gordon Crosse, Michael Finnissy, Anthony Powers, and Howard Skempton.

The first public performances of the songs took place over four days of concerts at Kings Place, London in April, with the simultaneous launch of The NMC Songbook as a four disc box-set.

The NMC Songbook

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Howard Skempton featured at the Bangor New Music Festival

The Bangor New Music Festival was proud to invite Howard Skempton to be their featured

composer at the 2009 festival, which took place over four days, 17-20 March. The festival activities concentrated on presenting a collection of Skempton’s recent vocal music. The vocal ensemble Exaudi, directed by James Weeks, gave performances of The Flight of Song, Rise up, my love, Song at the Year’s Turning, and He wishes for the cloths of Heaven within the atmospheric surroundings of Bangor Cathedral on 18 March, preceded by a pre-concert talk and discussion session with Skempton. In addition, Flight of Song was workshopped in an open choral rehearsal for choir members and singers on the previous evening, again under the direction of James Weeks and Exaudi.

The festival’s Artistic Director, Guto Pryderi Puw, said: ‘We were thrilled that Howard Skempton was able to attend this year’s festival as our featured composer. He has contributed so much to the contemporary music scene over the years, establishing himself as one of the leading composers in the country. The festival was an ideal platform for acknowledging his contribution and it was a wonderful opportunity for audiences from the surrounding area to experience the directness and understated simplicity of his music. With his post- tonal style, his vocal writing is truly engaging and the concert of his works was eagerly anticipated by local audiences.’

Also included in the programme were Michael Finnissy’s Three Sacred Motets, together with the premieres of Quae est ista by James Weeks and Snoring in NY by Guto Pryderi Puw.

Howard Skempton Ben Somewhen NMC D135

Choral and Chamber Music

Performed by Birmingham Contemporary Music Group and EXAUDI, conducted by James Weeks

NMC RECORDINGS

£12.99 (CD)/£7.99 (MP3 download)

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World Premiere of Anthony Powers’s Riverwork Anthony Powers’s latest work for chamber ensemble, Riverwork, was premiered at The Warehouse as part of the BMIC Cutting Edge series in November 2008. Extremely well received by the audience, Paul Driver

of the Sunday Times wrote: ‘A recital by the Okeanos ensemble brought the premiere of Anthony Powers’s Riverwork, a setting for the fetching combination of mezzo-soprano (Karina Lucas), oboe, viola, and harp of a short poem by

Irene Noel-Baker. Powers’s sinuous counterpoint beautifully captured the ripple and cascade of water. The piece was ravishingly well heard and all too brief.’

Anthony Powers and the Carducci Quartet The Carducci String Quartet began a residency at Cardiff University School of Music in October 2008. Although already familiar with some of Anthony Powers’s music for string quartet, their residency has enabled the ensemble to work closely with Powers, who is a professor at Cardiff University.

‘Performing the music of Anthony Powers is always an intense experience. He has a unique sound world that is both intimate and conversational. We

first played his String Quartet No. 4 in 2006 at the Second Glance Festival, London and were immediately struck by the raw drama of the work. The quartet is in one unbroken span that is formed from four linked movements and the positive audience reaction reinforced our feeling that the music was hugely rewarding for both performer and listener alike.’

EmmA DEnTon, cellist, Carducci Quartet

The Carducci Quartet performed Anthony Powers’ String Quartet No. 2 on 21 April in Cardiff University Concert Hall. Anthony Powers has written of the work: ‘I wanted to write a piece of real chamber music, intimate and conversational in tone, drawing the listener into its world; the result is a rather inward-looking, reflective work, not without a capricious aspect, but only occasionally raising its voice.’

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Michael Berkeley: New work for the BBC

2009 has already seen the world premiere of Berkeley’s Piano Quintet by the Nash Ensemble at the Wigmore Hall on 5 March, and an exciting electro- acoustic collaboration with the artist Kevin Laycock at the fuseleeds 09 contemporary music festival on 26 April.

Looking forward, Berkeley’s latest BBC commission, his last as Composer in Association with BBC National Orchestra of Wales, will be premiered at St David’s Hall, Cardiff on 19 June. Gabriel’s Lament for chorus and orchestra will be performed by BBC NOW and the BBC National Chorus of Wales, conducted by Thierry Fischer.

Michael Berkeley explains the influences and inspirations behind this composition:

‘As I was beginning this piece, the ever exuberant Gabriel Bailey, whom I had known since his birth twenty-one years earlier, cart-wheeled off the roof of a four storey house. His death traumatised

all of us. In this work I decided to try and create something that would be about eternal time, eternal space, and the wonder of infinity in which I somehow saw Gabriel, like his archangel namesake, forever flying.

‘As Dylan Thomas so powerfully described in Do not go gentle into that good night, grief has within it a powerful element of rage; so the chorus, as it wonders at the sheer vastness of space and time, momentarily rises above the prevailing quiet with outbursts of sound.

‘My recent a cappella motet Time No Longer, using a line from the Book of Revelation, became the basis of a compiled text. To suggest the unknowingness of space I purloined that wonderful line of Keats: “Thou still unravished bride of quietness.”

‘I had heard on Radio 4 the timeless sound of humpback whales “bubble-netting”. As they form a circle around

a shoal of fish they communicate with each other and blow bubbles, giving the encircled prey the sensation of being surrounded by a net. It was this eerie, primal whale “singing” that inspired the opening of the piece. The glissandi of the whales is turned into an upward movement which resembles the remarkable swooping intonation of congregational singing on the Isle of Harris—once heard, never forgotten.

‘A huge amount of my music-making in recent years has involved the BBC National Orchestra of Wales with Richard Hickox. As I was approaching the closing pages of Gabriel’s Lament, I heard that Richard had died suddenly while recording in Swansea. From that moment on, and especially given his involvement with the BBC National Chorus of Wales, this threnody could be nothing else but a heartfelt “In Memoriam” to both Richard and Gabriel.’

After numerous high profile performances and commissions throughout his sixtieth birthday year in 2008, Michael Berkeley continues to be in high demand in 2009.

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The first English National Opera production of Vaughan Williams’s one-act opera Riders

to the Sea was staged at the Coliseum in November 2008. Directed by the acclaimed actress Fiona Shaw, the four performances were touched by tragedy due to the untimely death of the conductor Richard Hickox just days before they were due to take place. Edward Gardner took over at short notice, and the powerful opera drew excellent reviews.

‘For those who think of Vaughan Williams as an engaging folklorist, his writing here will shock. He draws near

to European modernism, surmising the edges of tonality, using the minimum of material to track the words and lift them into ardent lyric declamation, while adding nothing extraneous. In his fidelity to an extant play, in the fluidity of the musical continuity, in the way he invests a static drama with tension, Vaughan Williams emulates Debussy’s Pelléas et Mélisande, while also suggesting the social realism of verismo, and seeming to point ahead to the sea-lashed masterpiece that is Britten’s Peter Grimes . . . The production should be revived forthwith.’

PAul DRivER, Sunday Times

‘…the hour-long performance is exquisitely staged and emotionally involving.’

RuPERT ChRiSTiAnSEn, Daily Telegraph

Vaughan Williams’s Riders to the Sea

Riders to the Sea—English National Opera

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The Walton Project

The New Haven Symphony Orchestra and the Beinecke Rare Book and Manuscript

Library of Yale University have recently launched The Walton Project; an exciting three year collaboration between the two organizations which will include concerts, broadcasts, lectures, and recordings.

Dr William Boughton, Music Director New Haven Symphony Orchestra explains:

‘Life presents opportunities that seem “so right” they appear to have been pre-ordained, and so it is with my arrival in New Haven and The Walton Project. On taking the position as Music Director with the New Haven Symphony Orchestra in 2007 I immediately beat a path to Frank Turner’s office (the Director of Yale’s Beinecke Rare Book and Manuscript Library), to discuss Walton; the Library holds approximately ninety-five percent

of Walton’s original manuscripts in the Frederick R Koch Collection.

‘Having decided that The Walton Project was something that we were passionate about, the task of deciding how, who, where, and what to present devoured many hours of pleasant discussion. Walton is a well-known composer in America, having received numerous US commissions including his Violin Concerto, written for Jascha Heifitz, Cello Concerto for Gregor Piatagorsky, and Partita for George Szell. The planning nonetheless demanded close scrutiny in order to ensure that we would achieve the greatest possible impact. We decided on a prolonged celebration (2009-2012) that would reach a greater number of people. This allows us to develop our core audience’s appreciation of this great English composer, include educational projects with local schools, and produce a series of broadcasts introducing Walton, ‘His life and music’ with the local classical

music radio station WMNR.

‘The Walton Project includes both symphonic and chamber music, thus allowing a broad spectrum of Walton’s music to be performed, and offering solo and chamber music opportunities for the musicians in the New Haven Symphony Orchestra. I also look forward to working with soloists such as Augustin Hadelich (Violin Concerto) and Roberto Diaz (Viola Concerto) and to inviting Walton scholars to New Haven to take part in a major Seminar during the 2010/11 Season.’

The Walton Project began on 5 February 2009 with a performance of Façade and Passacaglia for Solo Cello in the Beinecke Library. For full details visit www.newhavensymphony.org

‘I am grateful to Dr William Boughton and Yale University for making this project possible, and wish him and everyone involved great success.’

lADy WAlTon

The Orchestre National de Lille, under the baton of Owain Arwel Hughes, have recorded

both of Walton’s symphonies for release on a disc by BIS label. The French orchestra, conducted by Arwel Hughes, will perform Walton’s Symphony No. 1 in the opening concert of the Welsh Proms at St David’s Hall, Cardiff on 17 July. This follows their very well received performance of the symphony at the Nouveau Siècle concert hall in Lille on 2 April.

Arwel Hughes’s association with Walton’s music can be traced back to his electrifying performance of Belshazzar’s Feast with the Hallé Orchestra, broadcast on BBC television, and acclaimed by

Walton himself as ‘The best performance of Belshazzar’s Feast I’ve ever heard.’

Owain Arwel Hughes observed: ‘Recording one symphony after the other was very interesting. Written twenty-six years apart, the second is a far more mature work. One can trace the development of Walton’s compositional language quite clearly from one to the other. The orchestral colours of the second symphony are wonderful. It is concise, direct, and very well written. The orchestra liked that.

‘Walton’s music is rarely performed in France. In fact, the Second Symphony has never been performed before by a French orchestra, so to record and perform the symphonies with

the Orchestre National de Lille was fascinating. It involves teaching the style, and two different styles of Walton twenty-six years apart at that. The musicians relished the challenge, proving that there are no barriers in music. All good orchestras will enjoy playing great music.’

Orchestre National de Lille perform and record Walton’s Symphonies

Owain Arwel Hughes CBE

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Celebrating the Music of William Mathias

When William Mathias died on 29 July 1992 he was only 57. On 1 November

2009 he would have celebrated his seventy-fifth birthday. It is poignant indeed to contemplate the scale of celebration on both sides of the Atlantic had he lived to enjoy this anniversary. But even more telling is to think of the music he could have written in the intervening seventeen years. His fertile mind had been contemplating a number of major projects in the years before his final illness: a cello concerto, trumpet concerto, comic opera, and a large-scale choral/orchestral work were on the far horizon; nearer to home he had already started sketching a Fourth Symphony and there are brief incipits of a Fourth Piano Concerto and a Third Piano Sonata. Tantalizing as these are in prospect it is still worth remembering the courage with which Mathias faced his final battle with cancer and that in the last months he put everything into musical order and drew a line under his output with Ad Majorem Dei Gloriam—a typically life-affirming paean of praise as he prepared to die with a declaration of faith on his lips.

Now in 2009 we should realize just exactly what we have to celebrate. Mathias was amazingly prolific and a priority ahead must surely be the performance (and ideally the recording) of works which have been unaccountably

neglected. The recent broadcast by the BBC National Chorus of Wales under Adrian Partington of Ceremony after a Fire Raid—the 1973 twenty-minute setting of Dylan Thomas—was an astonishingly powerful revelation to generations of listeners unaware of its existence. There are riches galore awaiting rediscovery: The Fields of Praise; World’s Fire; Three Medieval Lyrics; the Organ and Violin Concertos to name but five. It is also high time that the opera he wrote with Dame Iris Murdoch for Welsh National Opera was sympathetically revived.

The Servants is a hypnotic and vividly memorable musical embodiment of Murdoch’s uniquely obsessive world of psychological intrigue set against a claustrophobic backdrop of snow and sexual tension. Even though its audiences cheered it to the rafters the opera was out of ‘critical sync’ in 1980 and it suffered accordingly and has never been seen or heard again.

Mathias’s passionate espousal of musical pluralism was ironically just ahead of its time in this country and so it is sad to think that we have missed his contribution to the major intellectual debate of the last two decades as well as the music which would have enlightened his viewpoint still further. However, let us rejoice in his living legacy—the music itself and the spiritual enrichment it will continue to transmit for generations to come.

In 1984 to mark his fiftieth birthday Mathias was the first living composer to be treated to a full week as Radio 3’s ‘Composer of the Week’. Perhaps it is time for a full retrospective now, a quarter of a century later.

GERAinT lEWiS

Geraint Lewis is Mathias’s authorised biographer, currently working on a PhD study of his work at Bangor University, where from 1980-7 he was a colleague of the composer.

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William Mathias

• There are performances of a wide range of William Mathias’s works taking place throughout 2009. Refer to the online concert diary at www.oup.co.uk/music/repprom for full details.

• A 2 CD set of the complete organ works of William Mathias, performed by Richard Lea, has recently been released on Priory Records PRCD 870 (see page 14 for full details).

• Hyperion records have released a disc of Mathias’ choral works, performed by Wells Cathedral Choir and Jonathan Vaughn (organ) under the direction of Matthew Owens (see page 14 for full details).

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Alun Hoddinott Remembered

Alun Hoddinott would have celebrated his eightieth birthday in August 2009 had he not

sadly died in March last year.

Here, interpreters of his music, friends, and colleagues reflect:

‘As an artistic entrepreneur he successfully spread the gospel of contemporary music among a somewhat traditionally conservative audience. But above all he was an innovative, adventurous, prolific, and immensely creative composer.’

DR GERAinT STAnlEy JonES CBE, President, Welsh Music Guild

‘Alun’s works were always meticulously worked out . . .he had a high regard for form and structure . . .Alun had an innate sense of instrumental line which was derived from his admiration of the

Italian masters which developed during his early training as a violinist.’

ChRiSToPhER PAinTER, Librarian, BBC National Orchestra of Wales

(The above quotes are reproduced with permission of the Welsh Music Guild.)

‘Hoddinott’s songs reveal a more reflective side to a composer who is renowned for vivid large-scale orchestral scores. The subject matter for his song repertoire demonstrates the dual aspects of Hoddinott’s life that were so important to him: travel and his native Wales where he worked in such contentment.’

AnDREW mATThEWS-oWEn

To mark the opening of BBC Hoddinott Hall in Cardiff the Welsh Music Guild

has published The Furnace of Colours: Remembering Alun Hoddinott. The book is a collection of photos, essays, and reminiscences on the life of the well-loved composer.

£7.50

Available from Oriana Publications Ltd www.orianapublications.co.uk

Andrew Carter: Seventieth Birthday Year

Andrew Carter

In 2009 numerous concerts will include the music of Andrew Carter in early celebration of his seventieth birthday in December.

A number of past commissioners are marking this milestone birthday with performances of the works they commissioned. One example is Otley Choral Society, the original commissioner of Musick’s Jubilee, who will make a performance of this work the cornerstone of an Andrew Carter Birthday Celebration concert in November.

Further details of performances of Carter’s music can be found on the Oxford University Press online concert diary at www.oup.co.uk/music/repprom

To mark the ninetieth birthday of Sir David Willcocks in 2009, OUP has published a new book, A Life in Music. The book and accompanying CD provide a rich and moving chronicle of the life and music of this truly inspirational musician.

A Life in Music, edited by William Owen. RRP £19.99 (hardback)ISBN 978-0-19-336063-1

REMINDER

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OxfordMusicNow

Bringing the music home:The Hilary Tann Archive at the

National Library of Wales, Aberystwyth

During my twenty-five years as a music historian, I have visited the surviving relatives and

friends of many early twentieth-century British composers. I have marvelled at manuscripts and memorabilia emerging from garages, garden sheds, and under-bed storage just as I have winced at their tales of paperwork misplaced. Increasingly, I have chanced upon autograph scores, scrapbooks, and signed photographs jettisoned to charity shops and eBay by those who have no space to house them, no time to deal with them, or no sense of what else to do with them. As life becomes ever more mobile, fast-paced, and global, home can no longer be regarded as a place of permanence and composers must take active responsibility for the posterity of their physical and digital collections.

When families ask advice or press me to accept their original materials, we work together to facilitate a library deposit. A new project builds on this experience but will be much more ambitious, too: a transatlantic collaboration with a living composer who is also a close friend, Hilary Tann.

How best to serve a leading Welsh composer who happens to live in America, whose career has been ‘between places’, and who is looking for a place to gather together all the disparate elements which constitute her output? The obvious solution was to contact the National Library of Wales at Aberystwyth which, as well as being a copyright library with the right to claim a free copy of all UK printed material, is building a major collection of contemporary Welsh music manuscripts including three OUP composers: Grace Williams, Alun Hoddinott, and William Mathias.

During an initial meeting at the National Library of Wales last December, we quickly realized the potential to acquire not just all phases of Hilary’s compositions from sketch to publication but a multi-layered, contextual archive which will straddle several Library departments and embrace rare recordings, broadcasts, programmes, and press cuttings documenting performances all over the world.

The Library is also interested to chart other aspects of the composer’s creativity: the Hilary who has been active in the International League of Women Composers, now the International Alliance for Women in Music; and the Hilary who writes haiku and maintains a strong connection with the ancient music of Japan.

DR RhiAn DAviESDr Rhian Davies is a music historian

and Artistic Director of the Gwyl Gregynog Festival

‘We are delighted to be able to offer a home for Hilary Tann’s archive; paper, electronic, and recorded items. It will be a great honour to house the work of such an important international composer.’

DR PAul JoynER, National Library of Wales

‘I am deeply grateful that the National Library of Wales has welcomed my music and that my life’s work will have a safe, permanent, and accessible home in Wales.’

hilARy TAnn

Hilary Tann

^

Hilary Tann’s orchestral work The Grey Tide and the Green was featured in the BBC National Orchestra of Wales’s Welsh Composers’ Project, conducted by Jac van Steen in March. The event was held at BBC Hoddinott Hall in Cardiff Bay and showcased music by living Welsh composers in two days of open rehearsals, culminating in an evening concert of a selection of the works. Tann’s The Grey Tide and the Green, which was originally commissioned for the Last Night of the Welsh Proms in 2001, was chosen to open the concert.

Hilary Tann andBBC NOW

Hilary Tann being interviewed by Jac van Steen at the BBC NOW Welsh Composers’ Project

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In MemoriamIn 2008 the music world lost two of its best-loved conductors, Richard hickox and vernon handley. Both were strong supporters and wonderful interpreters of British music. They introduced the works of Vaughan Williams, Berkeley, and many other

eminent British composers to audiences across the UK and around the world.

Richard Hickox 1948–2008 Michael Berkeley writes: ‘Richard’s outstanding gift to British music sprang from a passion for its composers both famous and obscure. I always admired the skill with which he invigorated the music - in his performances and recordings of Vaughan Williams and Benjamin Britten, he matched and even surpassed most existing interpretations.

‘Typical of his dedication to the highways and byways of twentieth-century music was the series of discs he made featuring my music and that of my father, Lennox. With the BBC National Orchestra of Wales we spent many hours in the

Brangwyn Hall in Swansea, and this is where I saw just what a master of recording technique Richard was. Likewise, in live performance and rehearsal he had an instinctive grasp of when to push and when to stop.

‘Richard always wanted to tackle everything, but his sense of humour when the odds were looking heavily stacked in the wrong direction led to a mischievous quip that would have everyone rolling and back on track.

‘He was a real and lovable “doer” and will be terribly missed.’

Richard Hickox

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Vernon Handley 1930–2008Andrew Neill writes: ‘It is indisputable that Vernon “Tod” Handley was one of the great conductors of British music; of its byways but of the classics too. He was a great musician who, having chosen his path, stuck to it with little deviation in the twenty-three years I had the privilege of knowing him.

‘Tod excelled in the music of Elgar and Vaughan Williams and his many recordings attest to his sympathy with the music of both composers. As I look back, the festival of Elgar’s music

in Malvern and Worcester which he conducted in 2006 is prominent in my mind, as well as his interpretations of the Vaughan Williams symphonies. Has anyone identified more closely with Vaughan Williams’s Symphony No. 5 than Tod–his beat becoming smaller and smaller as the passacaglia disappeared into eternity?

‘Many musicians and listeners are, only now, realizing what a gap Tod’s death created in their musical life. They will miss him, as do I.’

Vernon Handley

The ouP music Repertoire Promotion Department is no longer based at 70 Baker Street, london. We are now in oxford, at the oxford university Press main site on Great Clarendon Street (see page 16 for full contact details).

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BarryContemporary Music from Ireland, Volume 8

LisbonThomas Adés (piano/director), Birmingham Contemporary Music Group THE CONTEMPORARY MUSIC CENTRE IRELAND CMC CD8

JacksonNot no faceless angel

To Morning; Cecilia Virgo; Ave Maria; Hymn to the Trinity; Orbis patrator optime; O sacrum convivium; Not no faceless angel; Song (I gaze upon you); Salve Regina; Lux MortuorumPolyphony, Stephen Layton (conductor)

HYPERION RECORDS CDA 67708.Available from June 2009

mathiasMathias: Choral Works

Let The People Praise Thee O God Op. 87; Magnificat and Nunc Dimittis Op. 53; A Babe Is Born Op. 55; In Excelsis Gloria; Processional; Missa Brevis Op. 64; Ave Verum Corpus; Carillon; Lift Up Your Heads O Ye Gates Op. 44/2; O Nata Lux; Festival Te Deum; O Be Joyful In The Lord

Wells Cathedral Choir, Jonathan Vaughn (organ), Matthew Owens (conductor)

HYPERION RECORDS CDA 67740

William Mathias: Complete Organ Works

Antiphonies Op. 88 No. 2; Berceuse; Invocations Op. 35; Jubilate Op. 67 No. 2; Variations on a Hymn Tune (Braint); Carillon; Fenestra; Fantasy Op. 78; Partita Op. 19

Richard Lea (organ)

PRIORY RECORDS PRCD 870

NB Invocations, Antiphonies, and Carillon are published in the collection Three Organ Pieces

ISBN 978-0-19-375559-8 £15.95

mcDowallSpotless Rose: Hymns to the Virgin Mary

Three Latin Motets

Winner of Best Small Ensemble Performance at the Grammy Awards 2009

Phoenix Bach Chorale, Charles Bruffy (director)

CHANDOS CHSA 5066

TannMetamorphosis; Collaboration III Like Lightnings

Virginia Shaw (oboe) BEAUPORT CLASSICAL BC1805

vaughan WilliamsRalph Vaughan Williams: Riders to the SeaSarah Walker, Yvonne Brennan, Kathleen Tynan, Hugh Mackey, Bryden Thomson (conductor)NVC ARTS 51442-9784-2 (DVD)The NVC Arts DVD of Riders to the Sea was filmed for Radio Telefis Éireann in 1988. It is the only audio-visual version available of any of Vaughan Williams’s staged works. ‘The performance under the late lamented Bryden Thomson is superb . . .those who do not know this work are strongly advised to acquire this exceptional addition to the catalogue.’ international Record Review, December 2008

Vaughan Williams

Symphony No. 5; Dona Nobis Pacem

Winner of the Classic FM Gramophone Historic Archive Award 2008

Renee Flynn (soprano), Roy Henderson (baritone), London Philharmonic Orchestra, BBC Symphony Orchestra and Chorus, Vaughan Williams (conductor)

SOMM RECORDINGS SOMM 071

‘A very special and intensely moving performance of the 5th Symphony conducted by the composer.’ BBC Radio 3

various oxford ComposersPigs could Fly Corpus Christi Carol (Britten); The Lily and the Rose (Chilcott); Give to my eyes, Lord (Corp) For the Beauty of the Earth (Rutter) The New London Children’s Choir, Alexander Wells (piano), Ronald Corp (conductor)NAXOS 8.572113

A New Heaven The Lord’s my Shepherd (Rutter); Set me as a seal (Walton); Like as the hart (Howells)The Sixteen, Harry Christophers (conductor) UNIVERSAL CLASSICS 1795732

New and recent CD releases

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BarryNo other people. 12’Orchestra: 3(3+afl).2.ca.2.bcl.3-4.3.3.1-strScore and parts on hire

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Gabriel’s Lament 15’SATB chorus and orchestra:3.2.ca.3(3+bcl).3(3+cbn)-4.3.2.btbn.1-timp-4perc-hp.cel-strScore and parts available on hire from July 2009

Speaking Silence oCR978-0-19-345151-320’Baritone and piano£7.50

ChilcottBeauty for Ashes978-0-19-336178-25’SSSSAATTBB and organ£4.50

The Heart-in-Waiting978-0-19-336497-43’SATB unaccompanied£2.15

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Salisbury Vespers 978-0-19-336395-3 (vocal score) £9.95978-0-19-336464-6 (children’s part) £2.8050’Chorus, chamber choir, and children’s choir, or large divisi

chorus, with orchestra/organ and brass ensembleOrchestral material is available on hire:2.2.2.2-4.3.2.btbn.1-timp-2perc-org[opt]-strVersion for organ and brass ensemble will be available on hire in October 2009.

This Day 9780193359338 (vocal score)10’SA and chamber orchestra/piano£6.25 (vocal score)Instrumental accompaniment is newly available on hire:hp-str

FinnissySame as We (version one) oCR978-0-19-345327-210’Soprano and pre-recorded tape£5.00

The Transgressive Gospel 120’Jazz chanteuse, baritone, and instrumental ensemble:Violin, viola, cello, accordion, cimbalon, pianoScore and parts on hire

Violin Sonata oCR978-0-19-336456-112’Violin and piano£10.00

JacksonNot no faceless angel oCR978-0-19-336599-59’SATB, cello, and offstage flute (or oboe)£7.50

Oculi, omnium oCR978-0-19-336600-83’SATB unaccompanied£2.25

Requiem978-0-19-336487-529’SATB (with divisions) unaccompanied£10.95

Thou whose birth oCR978-0-19-335989-53’

Treble voices and organ£2.50

To Music oCR978-0-19-336601-53’SATB unaccompanied£3.00

mathiasCantate Domino oCR978-0-19-350400-48’SATB and organ£6.00

PowersI saw three ships 978-0-19-336577-33’ SATB unaccompanied£2.15 Available June

Nightsongs oCR978-0-19-336172-011’Piano quartet£16.00

RutterEl Noi de la Mare (The Son of the Virgin)978-0-19-336553-73’Unison voices and piano£2.15 (vocal score available June)Orchestral material is available on hire:2.1.2.1-2.0.0.0-perc-hp-str

Esta noche (This night)978-0-19-336554-42’Solo voice (soprano), SATB, and piano£2.15 (vocal score available June)Orchestral material is available on hire:2.1.2.1-2.0.0.0-perc-hp-str

To every thing there is a season 978-0-19-336275-8 (vocal score)5’SATB and piano/chamber orchestra£2.80 (vocal score)Orchestral material is available on hire:2.1.2.1-2.0.0.0-tubular bells-hp-str

SkemptonExpectancy oCR978-0-19-336170-6 (vocal score)

£3.50978-0-19-336546-9 (quartet parts) £5.006’SATB and string quartet

Notti Stellate a Vagli oCR978-0-19-336602-212’Solo piano£5.00

That Music Always Round Me oCR978-0-19-335972-7 7’SATB and piano/orchestra£4.00 (vocal score)Orchestral material is available on hire:2.2.2.2-4.3.3.1-timp-str

The Virgin’s Name was Mary 978-0-19-336570-43’Four-part choir, unaccompanied£1.85 (available June)

vaughan WilliamsO my dear heart978-0-19-336490-53’SSSAAA unaccompanied£2.15

WaltonWalton Edition Volume 5General Editor: David Lloyd-JonesChoral Works with OrchestraEdited By Timothy BrownContents: In Honour of the City of London; Coronation Te Deum; Gloria; The Twelve (version with orchestra) Choral music preoccupied Walton throughout his life and developed from his experience as a chorister at Christ Church, Oxford. Alongside Belshazzar’s Feast, these four larger-scale choral works for chorus and orchestra stand testimony to his expertise in the field.£155.00

Please note: oCR denotes a title that is published as part of the Oxford Contemporary Repertoire series, and should be ordered direct from the specialist supplier Goodmusic Publishing (contact details on page 16).

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Music Department, Oxford University Press, Great Clarendon Street, Oxford OX2 6DPTel.: +44 (0)1865 355 021Fax.: +44 (0)1865 355 060E-mail: repertoire.promotion.uk@oup.comWebsite: www.oup.com/uk/music/repprom

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